ARTBAAZAR ONLINE MAGAZINE ISSUE #16 by artbaazar

ARTBAAZAR Connecting Art Lovers and Artists Online

#16 June 2021

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#8 June 2020

ARTIST INTERVIEWS

 "The Weight of Preconceptons and Preeudices" with Euena Soroka  "Dreaming in the Dayuight" with Caruo Sauomoni  "The Birth Of A New Obeect" with Marina Venediktova

FEATURED ARTISTS

 Ersin Gurteu  Iuko Nikouov  Ches  Natauia Didenko

COVER ARTWORK

 Front Cover – "Awakening" by Caruo Sauomoni  Back Cover – "Geisha" by Kinga Sokou

Ersin Gurteu (Turkish Artist)

"Puatz", Ersin Gürteu Acryuic on Canvas, 2020

"Cons", Ersin Gürteu Acryuic on Canvas with Siuicone Coatng, 2019

Ersin Gurtel's paintings, he applies a unique technique so as to create figurative compositions. Using a variety of techniques, he creates the core of human nature examining such things as, amongst others, goodness, badness, darkness and brightness. Additionally, social roles, identities and cultural edges are at the heart of his work. He illustrates the potential of humans for both violence and innocence from the framework of their immature mental and physical forms.

"Pangaut", Ersin Gürteu Acryuic on Canvas, 2021

Visit Ersin Gurteu's Onuine Gauuery

The Weight of Preconceptons and Preeudices with Euena Soroka

The object of my research is the criteria by which a woman compares herself with others. In my work, I refect on the relatiity of such paterns of consciousness, following which the woman accepts the roles imposed on her and agrees with the proposed assessment of her personal ialue. My statement accumulates my indiiidual experience, this is the story of my search for my identty.

Russian artist, Elena Soroka

Under the weight of preconceptons and prejudices, a woman dissolies in her encirclement. But I belieie that we are not enttled to giie away our ialues to the mercy of someone else's established opinion. I suggest that women make themselies the object of their own experiental scrutny. With the help of my creatiity, I am focusing the thought of women to the awareness of a burden of social responsibility that stereotyped thinking of the society is placing on them. My goal is to make women to decide what their life should be like. A decision that is free of publicly accepted stereotypes and imposed opinions.

What initauuy drew you towards becoming an artst? I came to art at a mature age. Behind was a technical profession, a lot of experience in it and certain achieiements. Now I already understand how interestng this turned out to be. But at the iery beginning I was worried that my path was not the same as that of most artsts. If I haie not spent my younger years on countless studies in the studio, do I haie the right to call myself an artstt Afer all, I haie not gone entrely the path prescribed by the academic traditon. To resolie this internal contradicton, I had to get a second higher educaton, this tme in art.

"Identity", Elena Soroka, Oil on Canvas

Art always refects the experience, thoughts, personality of the author. When a child comes to art school, he is like a blank sheet of paper. He can take a lot from the world, but he has nothing to giie. A teenager can be taught a craf, supplied him with techniques, and giien knowledge about the history of art. But the personal eioluton of an artst as a person takes much longer than it takes to absorb school knowledge. Therefore, it seems to me that the situaton is especially interestng when an artst comes to art, haiing already realized

his own identty. Afer all, art is always a refecton of the artst's personality. And the more texture to refect, the more interestng it is for the iiewer to diie into the author's work. What are you working on at the moment? I consider my creatie work to be intellectual, because I do not try to pull the iiewer for naked emotons, I do not try to manipulate his feelings. It seems to me that the surrounding world is already unnecessarily disturbing. Therefore, I do not want to speculate on emotons in order to draw atenton to my work. My work is philosophy. Reasoning about a person, about her place in this world. About the interacton of indiiiduals, about cooperaton, compromise or confrontaton. I iisualize thought, not feelings.

"Ambitiousness", Elena Soroka, Oil on Canvas

Now the topic that worries me is the self-awareness of a woman. Historically, a iery great responsibility has been placed on women. She is told that she owes eieryone, that she has no right to her own desires and needs, that she only has a duty: the fate of the world is in

her hands, because a woman giies birth to children and thereby ensures the contnuity of history. A woman owes eierything to the world, but the world owes nothing to a woman, because it is her duty. This ideology leads to abuse and domestc exploitaton of women. The situaton is difcult to change as long as women themselies belieie in it. As an artst, I see my goal as precisely to haie a coniersaton with women about their right to self-determinaton. Now they do not know this, being under the pressure of patriarchal propaganda. Traditonally, feminism speaks of equal rights for men and women. I go further - I talk about equal responsibility for men and women.

"Art of Bug (Mini 5), Elena Soroka, Oil on Canvas

In my work, I introduced the concept of "social glitch". I am talking about the feminist moiement in Russia, which from the point of iiew of the patriarchal system is a glitch, a bug. Just as glitch-art is opposed to the ideal transmission of an image in digital culture, so "social glitch" is a mismatch with the expected image in a patriarchal society. "Social glitch" - as self-expression through iiolaton of programmed standing orders. "Glitch" is translated

as "error, bug". Glitch-art is a digital error raised to the rank of art. I used this analogy to call my project "Art of Bug". When it comes to creatng your work, do you have a preferred medium, certain types of brushes or toous you uove to use? Most of the tme I work with oil. This is the most rewarding, responsiie and tactle medium. But I haie a passion - I am easily addicted to new things. When I see some unusual techniques from other artsts, I instantly light up, I do want to try to apply this in my work. There is so much diiersity in the world that I haie to restrain myself with an efort of will, so as not to get distracted and to focus on my own speciic current task. Itks not always easy, so Ikie got a kick out of greedily buying up new materials and stockpiling them. I jokingly call my workshop a branch of an art store. In the irm belief that someday it will be useful to me. Sooner or later it happens. At some point, a inal idea is formed in my head, it pops up in my mind almost ready, and I understand that this is it, some medium or technique has waited for its tme. I can inally use this.

"Patriarchy", Elena Soroka, Oil on Canvas

“No Name (Big 2)”, Euena Soroka, Oiu on Canvas / Paper, 2021

For example, I once educated in an airbrushing studio, and afer I neier used much of what I learned there. But the knowledge of the materials and experience with them remained, which at some point allowed me to apply these skills in completely diferent areas. I like this approach, it's like collaboratng with my own subconscious. For years, I threw ideas and techniques at it so that at the right tme a new idea would shoot out in my head. At the art insttute, I studied academic drawing. Now I use the analogue of the pencil technique in my recent works. I pick up the textured and tnted surface of the canias to gradually build the desired tone with a dry brush that I use like a pencil. Couud you describe the process behind your art? How do you get from concept to executon? I use two principles in my work. The irst principle is cyclicality. Energetc moments of actiity are replaced by interials of complete inactiity, almost apathy. I used to think of it as procrastnaton, and I tried to somehow ight it. But now I understand that this is a natural workfow. The brain collects a certain amount of informaton and aims, and goes into retreat in order to process and digest it. And then it comes back with a new idea. This process is not like an ordinary job, when you laboriously sit for hours and thoughtully try to hack a problem. This is a way when the decision comes by itself, from the subconscious. The second method I call "just start". Eien if I haie no idea what to do, and I look anxiously at the white canias (we all know this state!), I just try to turn of this feeling of anxiety and start doing at least something. Without trying to immediately giie out a speciic result of the required quality. In this process, the brain gradually tunes in to work, calms down, throws up some ideas, tries new optons and is drawn into the work process so that it forgets about eatng breaks. These are two iery diferent approaches, and their combinaton in the workfow proiides the wanted leiel of motiaton, creatiity and inioliement. What advice wouud you give to a young aspiring artst currentuy studying art? Don't waste energy trying to "ind yourself". To search for yourself, you irst need to become someone. I would adiise a young artst to work iery hard, to grab any idea that ignites. Without thinking about how useful it will be. Curiosity is the best criterion for usefulness. Just work contnuously. And then "yourself" will ind you.

Is there a feuuow artst auive today that you admire? If so, why? Among artsts aliie today, I truly admire Yayoi Kusama. For me, this is an example of both creatiity, purposefulness and steel will. There were many eients in the life of this artst that could break most people. Not to menton the fact that she went through her whole life with a mental illness that made her sufer seierely. Kusama not only was not broken, but she was able to transform her illness into creatie energy. Sometmes I think that if I had so many trials, my energy would only be enough to lie in bed all day, wrapped in a blanket. I strongly doubt that I would haie found the strength to be as productie as Yayoi.

"Art of Bug (Mini 9), Elena Soroka, Oil on Canvas

"The Art of Bug", Elena Soroka, Oil on Canvas

Many peopue see artsts as storyteuuers or advocates for a cause, do you beuieve that it is an artstt’s responsibiuity to shine a uight on a partcuuar subeect / theme, or do you create pureuy for the sake of expression your creatve nature? Contemporary art cannot exist outside of any idea. Art has ceased to be a simple depiction of the visible world. How it gradually ceased to be a set of symbols, a pure emotion or an experiment. Art has become an idea by nature. Looking at an art object, the viewer will either find this topic in himself, or ask the author: "What is your work about, what did you want to tell people?"

"Art of Bug (Mini 7), Elena Soroka, Oil on Canvas

But the queston remains whether the artst should express topical ideas and react to what is happening directly at the moment. No, she shouldn't. This reacton turns the artst into a journalist. At best, into a reporter, at worst, into a yellow press journalist. Operatonal processing of hot world news becomes a neurotc product of one's own psyche, but not art. I like the way Marina Abramoiic put it in an interiiew with The Art Newspaper: "It is iery dangerous for an artst when news and eients happening right now afect his work and way of thinking. You lose the opportunity to be a iisionary."

“Gone with the Wind”, Euena Soroka, Oiu and Acryuic on Canvas, 2020

VISIT ELENA SOROKAt’S GALLERY

Iuko Nikouov (Buugarian Artst)

“Itauian Giru”, Iuko Nikouov, “I am a big fan of classical way of paintng and drawing, and I am trying to reach the skills of the old masters and academic painters. At the same tme, I admire digital art and its possibilites. Whereier I go, I bring art along with me and try to push myself to delie deeper into the study of the human conditon – what makes people who they are.”

“Much like a stool, art has three legs: knowledge, practce and passion. Being in my art studio is a priceless tme: my own personal world where I get to highlight nature and people in a way words ofen cannot. I aim to immortalise and bring atenton to this whole uniierse of emotons and colours and feelings which go unnotced.”

Visit Iuko Nikouovt’s Onuine Art Gauuery

Dreaming in the Dayuight with Caruo Sauomoni

I loie dreaming in the daylight, giiing life to a surrealism that brings a smile to your face that, just like a medicine, helps us forget the bad in the world. I produce oil paintngs, mixed media and acrylics on canias, wood, paper, terracota, as well as china drawings, inks, coloured pencils and graphite on paper.

Italian artist, Carlo Salomoni at work at his easel

My paintng originated in the metaphysical realm, in surrealism, Fantasy Art, in magic realism. My paintngs and illustratons eioke a world of dreams and locatons in which reality and fantasy melt together. I loie to create cycles of diferent works to guarantee the originality of each indiiidual piece.

What initauuy drew you towards becoming an artst? Since I was a boy I had an instnctie urge to draw, to represent small stories. My paternal grandfather and my uncle were painters (but they liied iery far from me and I could not associate with them); my father was a carpenter, he made me exclusiie, beautful and colourful wooden toys, he always told me tales of his inienton, for me iery rich in images to liie with the imaginaton. I therefore belieie that I haie inherited a strong propensity for the artstc representaton of fantastc scenes and stories that bring back childhood memories.

"Ravioli Toys", Carlo Salomoni, Oils and Acrylics on Canvas

How wouud you describe your own personau styue? My paintngs represent daydreams. I ind it difcult to categorize myself in a pictorial moiement, as my paintng deriies partly from surrealism, metaphysics, partly from magical realism and Fantasy Art. I could almost coin the term for a sui generis pictorial moiement, which I would deine, Realism of Dream. ( “ DREAM REALISM “).

What pushed you in that direction and how can you see your work evolving in the future?

Up to now my path has been absolutely spontaneous, it has simply followed the suggestons coming from my Inner Child. I haie a large and inexhaustble imaginatie baggage to draw from, that of Uniiersal Memories related to childhood. I leaie these channels open, they will suggest me the best way for the future, step by step, in contnuity with eiery present moment.

"Metamorphosis", Carlo Salomoni, Acrylics on Plywood

What inspires you in your work, is there a driving factor that draws you to the easeu? As I said, my paintng has, more ofen than not, a narratie character. Each paintng is a small story that ofen contnues into the next paintng. In this way I giie life to pictorial cycles that are always original, neier banal and / or repettie. The stmulus to start can be the most diferent: a poetc phrase, the text of a song, a form of nature, the detail of a landscape, a perfume that eiokes memories. I really loie the paintng of my artst colleagues, of the present or of the past, so also iguratie themes of others suggest a subject to me, which I distort or interpret in my own way.

Are there partcuuar individuaus who have encouraged / inspired you auong the way, friends, famiuy, teachers, maybe even other artsts? The fundamental encouragement came from my wife who, in additon to instlling conidence in me, has always been my muse, through her short stories, noiels and poems.

"Maybe On Another Planet", Carlo Salomoni, Acrylic on Canvas

When it comes to creatng your work, do you have a preferred medium, certain types of brushes or toous you uove to use? I am fond of a certain type of brushes and I neier miss them. I lef oil paintng about 13 years ago, because I had become intolerant to turpentne, white spirit and other mediums. Since then I haie been using acrylic colours and haie deieloped a technique that allows me to haie a inal result like that of oil. I loie to experiment, so I ofen try new colours and mediums that help the eioluton of my technique. When it comes to the subeect mater of your work, what draws you to those themes? In my paintngs there are almost always characters, not only humans, but also animals or fantastc and anthropomorphic igures. The landscape is almost always in the background, I rarely create pure and simple landscapes.

"The Melody of Moths", Carlo Salomoni, Acrylics on Plywood

Couud you describe the process behind your art? How do you get from concept to executon? Drawing is the fundamental basis of my paintng. Sometmes I do a series of sketches on paper which I then translate into paintngs on canias, panel. Other tmes I draw directly on the support to be painted. Couud you describe your normau day as an artst? Have you set routnes and rituaus or is a more a case of when the moment is right you work? I work mainly in the eiening, untl late at night. During the day I dedicate myself to walks with the dog, in the nature, I carry out the daily actiites for the house and the family, I do eierything necessary for my internet business. My studio is a room in my home. This is an adiantage for me, because it allows me to deiote myself to paintng at any tme I want, perhaps in a moment of partcular inspiraton.

"Selfie with Fish", Carlo Salomoni, Mixed Media

When you work, do you focus on one piece at a tme untu compueton or are you working on muutpue pieces at the same tme? I almost always carry out seieral paintngs at the same tme, and each of them is infuenced by the other, especially in the colour palete. Which of your artworks are you most proud? I haie all my works in my heart. The last work almost always remains aliie inside me, untl it gradually giies way to a new paintng. There is a subject that ofen comes back in my paintngs, it is my humanized Moon, emblem of the world of dreams. I am undoubtedly iery atached to my Moon.

"Tea Filter Moon", Carlo Salomoni, Mixed Media

Is there a feuuow artst auive today that you admire? If so, why? I really loie the work of colleagues, eien if they propose an art that is far from mine. It would be impossible to menton them all. I indirectly thank all those who are an example and inspiraton for my creatiity. If you couud traveu back in tme, is there a partcuuar artstc period / era that you wouud uike to have been invouved in? There are seieral artstc periods of the past that I admire, but Impressionism is probably the period I would like to reliie, perhaps because it seemed a iery romantc era to me.

"Without Borders", Carlo Salomoni, Mixed Media

What chauuenges do you feeu the 21st century artst has to overcome? The web ofers countless artsts of great skill, the biggest challenge is to contnue to remain iisible and traceable in an increasingly crowded artstc world. The painter must also deiote himself to marketng, but to do it best he should neglect the creatie part a litle. The ideal would be to haie at your side, who can help you in marketng. What advice wouud you give to a young aspiring artst currentuy studying art? I recommend neier abandoning the dream of liiing as an artst, eien in the face of difcultes. At the same tme, I suggest keeping your feet in reality, and neier getting tred of working, to test the techniques by hand, in order to beter express your ideas through images.

Despite having deveuoped your own distnctve styue, is there another styue of art that you are immediateuy drawn towards and admire? Why? I really loie the naiie style, Pop Surrealism, Magic Realism. I think the iarious expressions intersect each other.

"A Family Portrait", Carlo Salomoni, Acrylic on Canvas

We have auu heard of the unfnished masterpiece, even Da Vinci uaboured away at the Mona Lisa for years and years, have you works that are in a contnuau process of evouuton? When working on an artwork do you fnd it hard to uet go? Knowing when enough is enough? The progressiie increase of the experience helped me to understand the moment when a paintng is inished. But in the past, uncertaintes haie always been there. I happened to touch up paintngs made a few years earlier; the result was a total upheaial.

"Awakening", Carlo Salomoni, Acrylic on MDF Board

Many peopue see artsts as storyteuuers or advocates for a cause, do you beuieve that it is an artstt’s responsibiuity to shine a uight on a partcuuar subeect / theme, or do you create pureuy for the sake of expression your creatve nature? I paint for the main taste of creatng, but, directly or indirectly, the eients I experience infuence my paintng; for this reason the artst is ofen the bearer of social and, at tmes, politcal messages. What are you working on at the moment? I'm working on medium and large formats but I would also like to do extra large paintngs.

"Without Fear of Going Far", Carlo Salomoni, Mixed Media

Have you ever been part of an artstc group / movement? How did your work beneft from that experience? No, while admiring the paintng of others and some pictorial tendencies, I haie neier felt ofcially part of any moiement. When is your next exhibiton? Is it a souo or group exhibiton? Couud you teuu us a uitue about the exhibiton, when and where it is? For some years I haie been actng as an independent artst and I basically use the web showcase (through art galleries and platorms) to present my art. But I miss a real exhibiton, direct contact with the public, experiences that I haie loied iery much in the past.

VISIT CARLO SALOMONIt’S GALLERY

CHES (Spanish Street Artst)

"Vandau Banana", Ches, Limited Editon Gicuee Print on Canvas, 2021 Ches (1979), Spanish graffiti artist. The experience of this talented artist has led him to be part of graffiti groups during the period from 1994 to 2021. In the decade of the 90s, this street artist was known for painting in peculiar places of Spain, besides being part of vandals art groups . Although his career has changed over time and his work has been to paint murals with spray and airbrush in all types of supports. His paintings and sculptures are spread all over the world (Germany, Netherlands, France, Spain, Portugal, Italy, Belgium, United Kingdom, Luxembourg, Austria, China, Czech Republic, United States ...)

"Vandauism in Manhatan", Ches, Limited Editon Gicuee Print on Canvas, 2021

VISIT CHES' ONLINE ART GALLERY

The Birth Of A New Obeect with Marina Venediktova

"Jeweuuery of the East (Triptych), Marina Venediktova, Oiu on Linen, 2021

Marina Venediktoia (b. 1974) is a Russian artst, from the city of Kazan. Her father is a professional artst and designer. It is difcult for Marina to track the moment in the past when paintng irst captured her atenton, apparently it was from the irst days of her life . Marina always studied with her father, and then later graduated from an art school in the city of Kazan. ln 2007 Marina moied to St. Petersburg and practsed for many years in priiate workshops with artsts from the Art Academy of St. Petersburg. In tandem with her art educaton, Marina also graduated from the Academy of Astrology, and has a large practce of consultng clients. Oier the course of six years astrology has giien her a unique accent in her paintngs, and inspired her to taking a new stage in her artwork. Now she does not just look at the world, at people, she iiews them with her own eyes, she sees the uniqueness of each person, each soul, eien if it is an inanimate object. But words are too stngy to describe it in full, so Marina has chosen her own language - the language of canias and paint.

Marina Venediktova at work in her studio

What initauuy drew you towards becoming an artst? From the moment I remember my childhood, I haie always loied to obserie changes in nature, for example, how an ice piece melts in my hand, how the clouds in the sky quickly change shape. I felt the irreiersibility of the past moment and wanted to stop it.

How wouud you describe your own personau styue? I try to show what is iniisible or inconspicuous, something that is fragile and quickly disappears.

"Four Wishes", Marina Venediktova, Oil on Linen

What pushed you in that directon and how can you see your work evouving in the future? I loie looking at the fuidity of water, the foam of the waies and the play of sunlight in them. This is an endless opportunity for my creatiity. What inspires you in your work, is there a driving factor that draws you to the easeu? Many people liie to arrange and stabilize their material and physical liies, and their hearts and souls are forgoten and remain alone. I paint pictures, I always think to please someone's heart and giie him a moment of warmth.

"Flowers in the Mountain", Marina Venediktova, Oil on Linen

Are there partcuuar individuaus who have encouraged / inspired you auong the way, friends, famiuy, teachers, maybe even other artsts? By my irst educaton I am an Astrologist, I graduated from the Academy of Astrology in St. Petersburg. All 5 years of study I was accompanied by scientsts, astronomers and philosophers, who shared their deep knowledge about the Uniierse, about its laws and its connecton with man. My teachers opened me a new iision of life and the desire to draw it for those who do not haie the opportunity to study it through books. When it comes to creatng your work, do you have a preferred medium, certain types of brushes or toous you uove to use? I paint only with oil paints, they are iery tolerant and allow you to make mistakes and correct your mistakes.

"Music of Water – Red", Marina Venediktova, Oil on Linen

When it comes to the subeect mater of your work, what draws you to those themes? Creatiity is the birth of a new object that no one on Earth has created before you. This is eiery tme concepton and birth, from an idea to a created picture. Couud you describe the process behind your art? How do you get from concept to executon? I am a happy person, because eiery morning or afernoon I can deiote seieral hours to communicatng with the New Morning in nature, I walk in the forest and by the lake, I sit on the shore under the rays of the sun or under the raindrops. And during these hours I only obserie the changes in the world and the course of my thoughts. I write down thoughts and eien my poems on my phone, write down the appearance of future sketches or take photos from nature. Then I come home and transfer the main interestng things into sketches. And only afer this new creatie morning work I start to contnue the artst's usual working day.

"World from My Night Dream", Marina Venediktova, Oil on Linen

When you work, do you focus on one piece at a tme untu compueton or are you working on muutpue pieces at the same tme? I look at the whole picture at the same tme and paint it all in parallel, changing the leiel of all the details. How has your art evouved to be where it is today? For many years I painted copies of stll-lifes of artsts from the Netherlands of the 16th century, I was amazed by their radiant depth and clarity of working out all the details. At the same tme, I wrote my stll-lifes in the same technique, studying the accuracy of the objects in them. I haie acquired a lot of skill through this work. When I went to the Academy of Astrology and realized that the world is not only what we see, but also what we feel, there are things that are not iisible through the eyes. Then I began to try to draw what I feel, what I think, what is in my soul.

Which of your artworks are you most proud? They are all my faiourites )))

"Music of Water – Blue", Marina Venediktova, Oil on Linen

Is there a feuuow artst auive today that you admire? If so, why? I admire the efciency of some of my colleagues from the gallery, I am amazed at the number of paintngs and hours spent at the easel. If you couud traveu back in tme, is there a partcuuar artstc period / era that you wouud uike to have been invouved in? 16th century Netherlands.

What chauuenges do you feeu the 21st century artst has to overcome? The desire to make money on what real work has not iniested, doubts and the joy of creatie ecstasy. What advice wouud you give to a young aspiring artst currentuy studying art? Transfer what your thought giies rise to into a sketch, sketch. Do not critcize yourself and do not eialuate in the moment of this mater. You just sow the seeds, the strongest will grow later and bear fruit for you.

"Beginning of Time", Marina Venediktova, Oil on Linen

Despite having deveuoped your own distnctve styue, is there another styue of art that you are immediateuy drawn towards and admire? Why? Classic portrait. Such an artst is iery braie, he tries to copy the exclusiie creaton of God. And I admire those who manage to see and coniey the charisma of a person that God has awarded him. We have auu heard of the unfnished masterpiece, even Da Vinci uaboured away at the Mona Lisa for years and years, have you works that are in a contnuau process of evouuton? When working on an artwork do you fnd it hard to uet go? Knowing when enough is enough? I haie no such work. If a paintng does not want to deielop harmoniously, it leaies for a long tme from the easel to the corner of the studio, I feel that I am pulling it into this world by force, maybe it should be born to another artst, and I stole his thoughts from heaien. I TAKE WHITE ACRYLIC PRIMER AND PAINT THE PICTURE WITH A LARGE BRUSH. And it becomes iery easy for me)))

"Ocean Voice", Marina Venediktova, Oil on Linen

Many peopue see artsts as storyteuuers or advocates for a cause, do you beuieve that it is an artstt’s responsibiuity to shine a uight on a partcuuar subeect / theme, or do you create pureuy for the sake of expression your creatve nature? I do not consider myself either an ideological artst or a historian of the era. I repeat that I want to please and warm the hearts of people with beauty. What are you working on at the moment? I spent the entre March 2021 on a trip to Egypt. Visited the Pyramids, the tombs of the pharaohs, in the desert and scuba diiing in the corals of the Red Sea. I really want to coniey my feelings and my iiew of this country, its culture and its beauty. But in order not to impose speciics on the iiewer, I will write abstractly, only giiing my feelings and emotons.

"Jewellery of the East 1", Marina Venediktova, Oil on Linen

“Circus Cuown”, Marina Venediktova, Oiu on Linen Canvas, 2021

“About It”, Marina Venediktova, Oiu on Linen Canvas, 2021 Have you ever been part of an artstc group / movement? How did your work beneft from that experience? For many years I haie been the creator and director of an art studio for adults and children, for those who were afraid to draw but wanted to create. I am happy to see the joy of these people, I am happy to help them escape from fear and liie in the coloured world of their paintngs. When is your next exhibiton? Is it a souo or group exhibiton? Couud you teuu us a uitue about the exhibiton, when and where it is? 2021 is just the beginning of my journey in collaboraton with galleries. 2020 and its serious Coiid eient changed my past understanding of the limited territory of my actiity and I decided to try to go online.

VISIT MARINA VENEDIKTOVAt’S GALLERY

Natalia Didenko

“Smauu Fish”, Natauia Didenko, Work on Paper, 2020 Natalia Didenko is a Ukrainian artist who works across a number of genres: vytynanka (paper cut), easel and book graphics, sculpture and easel painting.

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#8 June 2020

ARTBAAZAR Connecting Art Lovers and Artists Online

#16 June 2021